JUDAS PRIEST - 'Nostradamus'

Very long awaited new and controversial double album by British JUDAS PRIEST. Months ago they announced to us that their new work would be a conceptual rock opera about Michel de Nostredame, a well-known 16th century French prophet. Well, for all those who were waiting for an album along the lines that JUDAS has always followed, they are not going to find it. 'Nostradamus' is full of orchestrations, epic, progressive songs, where Halford is the narrator of the story and the music magnifies it.

The controversy that surrounds this album is created, precisely, by this evolution never before seen in the band: on the one hand we have the lovers of Heavy Metal made in JUDAS PRIEST who have been disappointed and, on the other hand, those who in this change have found the best album of the entire discography of the band. I am of the second opinion. It is true that JUDAS already has a reputation and that even having wanted to make an album on this subject, they should not have been complicated as they have done, which means that not only do they do it "all for the money" but they also try and devise to make it an excellent album.

The first album begins with the instrumental "Dawn of Creation" that gives way to "Prophecy", very much in the vein of JUDAS PRIEST and with a catchy chorus where the protagonist of the story is presented. Both the titles chosen for the songs and the preludes that accompany each of them are perfectly designed so that the listener can differentiate the different passages in Nostradamus's life and the emotions he felt. It is followed by "Awakening" and "Revelations" where he discovers his visions, the fear and rejection that they can create. We discover here a new vocal side of Rob Halford. It is nothing new to say that he no longer reaches the treble of yesteryear, nor would it be normal at his age, the years always take their toll, but he has known how to adapt it to his physical and vocal condition, playing with the melodies and harmonies of his voice. It is true that it has lowered its tones, but for that reason they are no less good than its characteristic treble. He has known how to tan and work his bass level with great efficiency, apart from showing us, on rare occasions, his operatic registers and nods to the minstrels of the Middle Ages.

The story proceeds with the same structure: prelude and songs, legendary solos between KK Downing and Glen Tipton. To highlight the beginning of “Pestilence and Plague” that is very reminiscent of the famous “The Trooper” by IRON MAIDEN, with a chorus sung in Italian and, above all, the song “Death” that is reminiscent of BLACK SABBATH at the time of 'Paranoid' with a magnificent introduction warning us of the passage of time at the rate that the heartbeat fades. Say, too, that the song "Lost Love" is a bit closer to kitsch.

To end the first album, what better than a 100% JUDAS PRIEST song that, as is done in the half parts of operatic tragedies, shows the action in the spotlight to keep us in suspense and continue wanting more.

The second album is much more melodic, without so much heavy metal. He begins by telling us about the loneliness after losing his first wife and children to the Black Death to the rhythm of “Solitude”, how hard it is to go into exile in “Exiled” which, along with “Alone”, “Visions”, “ Hope ”and“ New Beginings ”have the structure and typical melodies of a tragic musical, which would be the Rock Opera itself with very orchestral songs, typical interpretations of musical and operatic tragedies and where the new is more clearly noted. Halford's voice approach, with a much more dynamic performance. And at the end of the second part of this magnificent double album, death is presented to us, to the rhythm of the opera. The beginning of “Nostradamus” makes us fear the worst and it is that with that beginning with a Robert Halford using operatic registers and that introduction so influenced by the grandiloquence of Wagner's operas, we know that everything comes to an end. This second single is the one that best defines the album: a 100% Heavy Metal song accompanied by orchestrations, typical 'Painkiiller' guitar and catchy chorus and, to top it all, a little scream that Halford has us so well accustomed to, perhaps not so sharp but it was broken, which it didn't do before. They already say it, when they are geniuses, they are forever even if they use other formulas. To close the work "Future of Mankind" he tells us that the future of humanity has been revealed in his visions and that time will be in charge of proving it, paying homage in French with a distorted voice and ending it as it begins.

The presentation tour of this album has not been, yet, as the group wants since, and I completely agree and wish that they do so, they would like to have the support of a small orchestra (it has been recorded via sampled the orchestral parts) and perform, theatrically, the entire work. Too bad that such an initiative is very risky since the album has not been very well accepted by many of its lifelong fans. I hope that moment arrives, even if they only do 5 or 6 dates, I would attend one of them for sure.

From my point of view, I think that if instead of having made a double album they had made one, it would have had a better impact. Even so, and time will tell, when 'Turbo Lover' came out it didn't like it either and you just have to see that it is now one of the band's most acclaimed albums ... that's said and I hope the same thing happens with 'Nostradamus'.